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Books

22 Jul 2011

The Sopranos — Dissecting opera’s fervent fans

I was feeling cowed by Herr Engels. The four of us had retired from the Stravinsky performance to a Billy Wilder-themed bar in Berlin, the least horrible late-night option in the high end mediocrity of Potsdamer Platz.

Herr
Engels and his wife were enjoying retirement with a cultural event every single
night, whether that be opera or the symphony or theater or a gallery opening;
tonight, he had set his sights on me and wanted my opinion. I had one — small
and squalid and intense as it was — but while Herr Engels had been steeped in
culture, I had merely dipped a toe in. I had seen my first opera for the first
time less than a year before, and he was asking for me to report on what I had
seen. I didn’t have the language for it yet, not even a basic vocabulary. I
started to list the Berlin operas I had seen — Prokofiev’s The Love for
Three Oranges, Braunfels’s Jeanne d’Arc, Wagner’s
Rienzi

“Ah, the Rienzi. How was that?”

I mistakenly believed that he was asking because he had not seen that
production. I started to explain how they changed the setting of Rome to a
unspecified totalitarian space, how the staging was interesting, the clever
ways they used Wagner’s overly long musical interludes and ballet sections.
“I liked it,” I finally declared.

Herr Engels paused, brushed nonexistent crumbs off of the table, and simply
said, “No. We did not care for it.”

Despite the shame he afflicted on me, Herr Engels would prove to be a rather
benign, and even generous, version of a type I’ve since grown to know well.
You know the opera fanatic even if you have never attended an opera performance
in your life. He or she knows every performance, every singer, every composer,
every conductor. The critics phooey, they know nothing, but the fanatic
holds the key to opera knowledge and enjoyment. Only they truly understand the
art, and only they truly appreciate the art.

In The Opera Fanatic: Ethnography of an Obsession, Claudio E.
Benzecry identifies four distinct types of the obsessed attendee: There’s the
hero, who believes he is keeping the opera house open and the art itself alive
and vital. There’s the addict, who is willing to sacrifice his families,
friends, lovers, money, and sanity to attend multiple performances of the same
opera, to listen to the records and attend lectures and travel to distant
theaters. There’s the nostalgic, for whom everything was better when it was
sung by Maria Callas, or Joan Sutherland, or back in 1965, or back when people
took pride in knowing about opera. Then there’s the pilgrim, the devoted
subject who treats the opera house as a religious temple.

Mostly what I was thinking while reading The Opera Fanatic was,
“Phew. At least I haven’t fallen so far.” And yet while my passion may be
new, as I continued reading, I realized that patterns were emerging. I was
showing signs. My trip to visit Mad King Ludwig’s castle in Bavaria with its
rooms decorated in loving tribute to Wagner could be mistaken for a pilgrimage
— as could my trips to the opera houses of Vienna and Budapest and Odessa. My
obsessive shopping sprees for tickets and my insistence that I always reserve
the same seat might be the behavior of the Addict. Yes, I didn’t have a
favorite diva and was more interested in the stories of the composers and the
libretto writers, that didn’t make it any less annoying that I insisted on
telling everyone the story of Boito’s Mefistofele, which may have
been a masterpiece — and my favorite opera — but also destroyed his
career.

Take the “opera” out of The Opera Fanatic, and there are still
recognizable templates at play. And you may indeed want to remove “opera”
to get a better look, as it can be very difficult for outsiders to see the
appeal. Opera is often dismissed as a dead art form, as an elitist plaything of
the wealthy and the out-of-touch. Wayne Koestenbaum spends a lot of time in
The Queen’s Throat: Opera, Homosexuality, and the Mystery of Desire
trying to make opera a gay thing. While the wealthy do remain patrons of the
opera houses, statistically speaking, the average opera viewer is much
more normal. On paper at least. Benzecry — who treated the Teatro Colón
like a mysterious village and reported back on the inhabitants’ behavior as
an anthropologist would — found that the most devoted of its guests are
middle class, many the children of immigrants, and, statistically, don’t lean
more straight or gay than the outside world. So when you do remove the opera,
you find that the addicts share much in common — probably to their
protestations and their horror — with people who get obsessed about other
things, whether that be comic books or Lord of the Rings or certain
pop musicians or television shows.

I have gone to science-fiction conventions. I have waited in line for a Tori
Amos concert. I have dated a comic book collector and a music critic. Yet I
have always been on the outside of fan culture, never obsessive enough about
any one topic to be seen as anything but a poseur by the true fans. They are
always all too happy to explain to me why I am wrong about my opinion of TV’s
Game of Thrones or how this Amos tour is overwhelmingly inferior to
the second leg of her 1994 shows, which of course I did not see. Herr Engels
was simply a better dressed and much more polite psychopomp to my latest
adventure in fandom, but there are certainly equivalents in every fan culture
I’ve encountered. There have certainly been those who wanted to hold my head
underwater because I balked at the engulfing qualities of these passions, all
the time and travel and schooling and money involved, and I was thus found
unworthy of the objects of their love.

And it is love. Not in that “Oh, I love chocolate cake” kind of way, but
in the way one falls in love with a paramour. Both Benzecry and Koestenbaum
write about the difficulty fans have in sustaining a romantic relationship that
doesn’t revolve around a shared opera obsession (it’s no coincidence that
this is also the stereotype of nearly every fan culture). It’s as if these
fans accidentally fell in love not with a human being but on opera, like a
deluded gosling who imprinted on a sheepdog rather than its own mother.
Koestenbaum writes, “The taste for opera is seen not only as compensation for
lost love objects, but as the very catalyst of loss. The opera queen is lonely
because he listens to opera: Opera isolates him from the sexual marketplace.”
And opera feeds the fan like a lover, providing an emotional experience on par
with romance, with all of the ecstasy and disappointment and anger and joy and
everything in between. It’s no wonder a father in Opera Fanatic
tries to curb his daughter’s growing interest in the Colón. He would like
her to get married and not become one of the distinguished older women Benzecry
interviews, who starts crying as she explains just how much the opera has meant
to her. Of the dozens of opera fanatics he speaks to, he reports that fewer
“than a third live with a permanent partner.”

What remains elusive in both books is the identification of the mechanism in
these people that chose opera. Koestenbaum tries so hard to tie opera to his
homosexuality, making metaphors about the closet and the voice and gay
identification with the diva, that the reader is left with no option but not to
believe him. It begins to sound like a pathological belief system. (I came
across my copy of his book at the used bookstore, and I could read not only the
text but the previous owner’s increasing frustration with Koestenbaum’s
certainty. Next to yet another of the writer’s line insisting opera is the
territory solely of the gays — “Opera’s apparent distance from
contemporary life made it a refuge for gays, who were creations of modern
sexual systems, and yet whom society could not acknowledge or accommodate”
— my co-reader scrawled in an exasperated, “This is crazy!”) Koestenbaum
and Benzecry’s interviewees all have their theories and their origin stories
— family members who played operas on the phonograph, a waltz randomly heard
on the radio, a lover who took them to the opera for the first time — but
there’s no specific reason why it was opera, and not, say, an episode of
Star Trek, which has also been the territory of the unacknowledged and
the unaccommodated, that set their particular souls alight. But that’s love
for you. The more we love someone who hurts us and obsesses us and sets us
afire, the more we try to find justification for that love in our past.

As for me, I couldn’t really tell you. Something must have been in
alignment the night I saw the Prokofiev with my friend Veda. I’m trying to
keep a rein on it, although I’m aware the alabaster bust of Wagner that sits
glaring at me as I sleep is probably not doing much for my bedroom karma. Love
remains a powerful and destructive force that some of us need to hold at bay,
to fight our fates. As Koestenbaum flipped through a collection of opera
records in his friend’s garage, he said, “Why don’t you bring the records
into the house? This is a terrific collection!” His friend replied, “You
don’t know what would happen. You have no idea what would happen.” • 12
July 2011

Jessa Crispin

This review first appeared in The Smart
Set. It is reprinted with the permission of the author.